The Killer Eye (1999) is a rabbit hole if I’ve ever seen one.
When I put it on, I fully expected a low-budget, trashy horror film—and that’s exactly what it is. This is high-grade B-movie schlock, almost tailor-made for Mystery Science Theater 3000, but for one big reason, it probably won’t end up there—at least, not without heavy censorship.
The plot is about what you’d expect: a mad ophthalmologist scoops up a twink hustler off the street and gives him some experimental eye drops that allow him to see into the eighth dimension—until now undiscovered. Dr. Jordan Grady (played by Jonathan Norman) believes these eye drops hold the key to unlocking this new reality. What he doesn’t realize is that they will also bring a giant, tentacled eyeball into our world, an eyeball that spends most of its time groping women before going on a killing spree.
Now, let’s be clear: this film is borderline a skin flick. There’s a lot of nudity, mostly from the women, but also a few homoerotic moments (more on that later). That said, there’s not so much nudity that it wouldn’t make it onto Prime Video or Pluto TV, which is where I watched it. There are a few frontal shots—some nudity, no genitals. Well, maybe a hint of genitals.
So why can’t I hate this movie, even though it’s undeniably trash? Because it’s self-aware trash. It knows its audience, it leans into the absurdity, and it’s genuinely funny. I’d even go so far as to say it’s downright witty.
The characters are a riot. Dr. Grady is single-minded in his pursuit of the eighth dimension, funding his research with his rich wife’s money. His wife, Rita, is sexually frustrated and desperate for attention, constantly trying to seduce every male character in the film—including two “best friends,” Tom and Joe, who do nothing but lounge around in their underwear and take drugs. The film insists they’re just best friends, but it’s clear they’re more into each other than Rita. These guys are pure himbo eye candy, existing solely to show off their six-packs.
Then there’s Morton and Jane, the monogamous married couple, with Rita repeatedly hitting on Morton—who repeatedly turns her down. Oh, and we can’t forget Creepy Bill, a guy who lives in the attic and, well… is creepy. That’s his entire character. That, and his weird drawling Southern accent.
Meanwhile, the killer eyeball spends most of the film trying to impregnate women so it can spawn more eyes, while also possessing men to go undercover.
But here’s where things get really interesting: The Killer Eye is the work of David DeCoteau, a man who has directed over 180 films since the 1980s. That’s a level of prolific output that borders on the absurd. And nearly all of his films fall squarely into the B-movie exploitation genre, with many carrying overt gay themes. In fact, if you had to describe DeCoteau, you could call him the gay Roger Corman—because that’s exactly who and what he is.
DeCoteau got his start at age 18 working for Corman, and his movies are very much in that same vein. But unlike John Waters or Bruce LaBruce, who also inhabit the realm of queer underground cinema, DeCoteau is both more commercial and more underground than either. What truly sets him apart is that he doesn’t seem to care about prestige or critical acclaim—he just wants to make movies that sell. And he does. Like clockwork. His filmography includes Assault of the Killer Bimbos, Shrieker, Witchouse, A Talking Cat?!, and the 1313 series of horror films.
And while you can argue that all of these movies are pure schlock (no disagreement here), it’s also clear that DeCoteau injects a little bit of himself into each one. He’s no amateur—he knows exactly what he’s doing and has carved out a very specific niche. His films have a cult following, with people who go out of their way to watch every single one. And I get it. Because as commercial as they are, they’re all made on his terms.
Despite this, The Killer Eye has predictably low ratings:
- IMDb: 2.9/10
- Letterboxd: 2.1/5
But that hasn’t stopped it from being reissued on DVD multiple times. It even got a spiritual sequel of sorts—Killer Eye: Halloween Haunt—though that one wasn’t directed by DeCoteau, but by Charles Band (who is another deep dive-worthy figure in the world of B-movies).
Can I recommend The Killer Eye? Not really—unless you’re specifically looking for an R-rated skin flick with horror elements and a dash of homoeroticism. If that’s your thing, you might get a kick out of it. Otherwise, this movie is only worth checking out if you have even a passing interest in David DeCoteau and the peculiar world of gay trash cinema.
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